Piano Sonata Op.13 No.8 In C Minor 'Pathétique', Movement I

Question 1

Exposition structure

Answer 1

first subject
main melody 1
second subject
main melody 2
The second subject is usually in the dominant, relative major or minor key. Between each of the sections there are transition links.

Question 2

Development structure

Answer 2

The development takes all of the ideas of the first and second subjects from the exposition and manipulates each idea to sound different, such as a change in pitch. This section moves through lots of different key signatures.

Question 3

Recapituation structure

Answer 3

The first and second subjects heard in the exposition are repeated in this section. However, the second subject is now in the tonic key instead of a related key signature. A coda concludes the movement.

Like many of Beethoven’s compositions, the Piano Sonata No.8 makes great use of short motifs. In another of Beethoven pieces - Symphony No.5 - short motifs are again at the centre of the composition

Question 4

Instrument

Answer 4

Pianoforte

Question 5

Sonority points

Answer 5

Tremolos
Wide range of dynamics/articulations/expression

The full work spans five and a half octaves - nearly the full range of notes on a piano. Contrary motion (Musical lines moving in an opposite direction) is used in bars 105 to 110 and a murky bass (Accompanying bass in broken octaves) is frequently present, for example, in bar 11 in the left hand

Question 6

Structure

Answer 6

introduction - bars 1 to 10
exposition - bars 11 to 132:
first subject - bars 11 to 34
transition bars - 35 to 50
second subject - bars 51 to 120
codetta - bars 121 to 132
development - bars 133 to 194
recapitulation - bars 195 to 294
coda - bars 295 to 310

Question 7

Dynamics

Answer 7

The full work spans 
p
p
 to 
f
f
 and includes accents. The introduction opens at 
F
p
 - a dynamic not possible before the piano was invented. Sudden dynamic contrasts include 
S
f
 (sforzando) to 
p
 in just one beat in bar 4. The first subject starts 
p
 and crescendos to aid the excitement bars in 15 to 18. By bar 132 there is another 
f
f

Question 8

Texture

Answer 8

The introduction is homophonic with very heavy, low chords. The first subject includes descending broken chords in bars 29 and 33, which moves into harmony. An antiphonal effect is created by crossed hands in bars 51 to 80 and an Alberti bass is played in bar 89.

Question 9

Rhythm

Answer 9

Dotted rhythms and short rhythms are included in bars 9 and 10. The exposition includes some syncopation - bars 13 and 19 - and persistent quavers are played throughout the allegro section, except for the second subject

Question 10

Metre/tempo

Answer 10

The introduction has a 4/4 time signature, although the exposition changes to a 2/2 time signature with a clear two beats in a bar.

The tempi indicated are:

introduction - grave
first subject - allegro di molto e con brio

Question 11

Melodic points

Answer 11

Bar 1 has a dotted semiquaver motif that is used throughout the introduction. Bar 10 includes a long, rapid, descending chromatic run.

The first subject melody is a rising staccato theme over two octaves

The transition is based on the first subject theme and employs lots of chromaticharmonies. The second subject is a lyrical, legato phrase and contrasting spiky, staccato phrase. The melody includes acciaccaturas and mordents.

The development contains fragments of the introduction and exposition melodies. For example, bar 137 is based on the first subject and bars 140 and 141 are based on the second subject

Question 12

Harmony/tonality

Answer 12

The introduction opens in the dramatic key of C minor, the tonic key. Chromatic notes are heard along with diminished chords.

The first subject is in C minor, the opening tonic pedal alternating between bass octave C tremolo. A perfect cadence is heard in bars 18 to 19 before the theme is repeated. Diminished seventh chords are heard again in bar 18 and there is an imperfect cadence at bar 27.

The transition modulates through Ab and Bb before the second subject begins in the key of E♭ minor, instead of the relative major of the opening key, E♭ major. The key becomes E♭ major in bar 89. A dominant pedal is used in bar 51 to add variation.

The theme is repeated in a number of different keys, especially in the development, as this section has a lot of chromatic notes and works through many keys.

For the recapitulation, the first subject is in C minor and the second subject begins in F minor, returning to C minor. There are more diminished chords on the first beat of bars 2, 26 and 42.